Real Art D.C. Finalist: Travis Childers

Travis Childers's "curious photographs of Petri dishes" caught Jessica Dawson's eye among the Real Art D.C. submissions. Read all about it here.

Lisa MCCarthy is No. 5

Lisa McCarthy is Jessica Dawson's excellent choice in the Real Art D.C. thingie the WaPo is doing.

Real Art D.C. Finalist Two: Jenny Yang

Jenny Yang's excellent photographs attracted Jessica Dawson's attention is she is the second Real Art D.C. selection. Read all about it here.

Real Art DC Finalist Number 1

Jessica Dawson picks Joel D'Orazio as her first finalist for the Washington Post's Real Art DC contest:

So how come D'Orazio doesn't have a gallery? When I asked him for a conceptual read on his artworks -- What's the thinking behind them? What are they about? -- I got an inkling of the problem. For D'Orazio, making chairs and making paintings (which he turns out in droves) is instinctual stuff; he considers them open-ended experiments in form and color. There's no big idea here.

Joel, you can't be serious! To be relevant, art has got to have a conceptual underpinning, some reason why it exists. In particular, abstract painting is a minefield -- it can't be attempted in the 21st century without a plan of attack that positions the work against all that came before.

As Joel toured me around his home, basement studio and garage, I saw legions of his abstract paintings on panel, each with pigment pooled on their surfaces in chance patterns. The works were lined up one against the next, almost all without gallery interest or a collector awaiting them.

Read the whole piece here.

Questions for the masses: Does art have to have a conceptual underpinning? Or is that a fabricated aftershock of postmodernism or its predecessors? Or even worse, something that art critics and curators all believe in, but many artists choose to ignore?

Or is Joel right in essentially doing art for art sake's and enjoying creating droves of experiments in color and form?

I submit that only time, the only true art critic who wins all art debates, can tell. The most recent evidence of this is the spectacular sudden success of Carmen Herrera, who sold her first painting at age 89 and is now the new darling of the painting world at age 94.

I figure Joel has about 30-35 more years to go...

Dawson on One Hour Photo

The Post's Jessica Dawson has a really good article on the One Hour Photo exhibition project at the Katzen.

Read it here.

I have a pic in that novel show.

Dawson on DMV

The WaPo's Jessica Dawson covered a wide range of the DMV art scene in this review(s): She covered shows at McLean Project for the Arts, Thomas Drymon Selects at the Studio Gallery, Carroll Square Gallery, Amy Lin's exhibit at Addison Ripley, and Andrew Wodzianski's Pop-Up living space in 100 sq. ft. performance.

Think about this: in order to cover all those shows, Dawson had to travel all over the DMV - and I'm sure that she visited a lot more spaces than those that she wrote about.

That is why writing art criticism is so time consuming: it takes a lot of gallery hopping just to produce a good round-up article like this one. Good job!

Dawson on Lass

Jessica Dawson reviews Berlin-based photographer Anne Lass. Read the review here.

Bravo to Dawson for asking the photographer questions about the work. In my opinion, often art critics seem to avoid this part of the critical process - the gathering of information from the source.

WaPo is seeking works by local artists

"Jessica Dawson is hitting the studios to uncover Washington talent.
It's all part of Real Art D.C., the Washington Post's exciting new platform for contemporary art in the Washington region. There's also a related competition open to all area artists.

What is Real Art D.C.? An online virtual gallery of works by local artists that will allow Post readers to discover and connect with Washington's newest talents. Artists themselves will post their own work -- and so will dealers and teachers on their behalf -- and anyone can click through and see the spectrum of local creativity."

Read all about this interesting new venture by the WaPo here.

As part of the effort, Dawson will select "a new artist-finalist every few weeks and visit the artist's studio, reporting about what she finds on the Real Art D.C. site."

I like it!

Here is where you upload your images to be considered.

Before you do that, I recommend that you read the Terms and Conditions and pay very careful attention to rule number 8 which states:

8. Submitted Entry Materials will be posted on WashingtonPost.com, and may be included in both print and online features and promotions. In addition, by entering you grant Sponsor a license to publish, reproduce, use, transfer, and otherwise display your Entry Materials in any medium and for any purpose in Sponsor's sole discretion.

I'm having a little trouble digesting that condition, which essentially all but gives the copyright of the image to the Washington Post and I am not sure why the WaPo would want to "use" the artists' entry in "any medium and for any purpose", unless they're planning to put some images on T-shirts and sell them at the next Crafty Bastards fair (not a book though, as rule 20 clarifies).

I want you readers to comment on that condition (number 8) and let me know what you think.

Dawson on Miner

The WaPo's Jessica Dawson has a really cool review of A.B. Miner's show at G Fine Art:

Artist A.B. Miner, 32, bade farewell to his breasts forever in January 2007, electing for a double mastectomy with reconstruction, as that element of female-to-male gender reassignment surgery is called. By then he had been on hormone therapy for two years. He had changed his name. Now it was time for the next step in realizing a dream he'd had since he was a teenage girl: to be a man.

The procedure's effects must have fascinated Miner, because he photographed himself at regular intervals post-surgery. Working from those photographs, he painted a 12-panel work about the contortions of his flesh. "From There to Here" is the centerpiece of Miner's modestly sized solo show inaugurating G Fine Art's new location.

Read it here.

Mellema on Lin

"It's hard to argue with the notion that Amy Lin gets more press coverage than any other artist in the greater Metro area."

That's the beginning of a most excellent review by Kevin Mellema of the Amy Lin show currently at Addison Ripley in Georgetown. Read the whole review here. Mellema is right, Lin has received tons of press and critical attention in her past and current exhibitions.

It's also hard to argue with the puzzling fact that so far the Washington Post's Jessica Dawson, whose job is to write about DC area galleries, is one of the rare important critical voices who has so far managed to avoid writing anything about this artist. Lin has managed to capture the attention of nearly every art critic and writer in the region but Dawson's.

Says something about having a "finger on the pulse of the DC art scene" doesn't it?

I really hope that Dawson proves me wrong and plans to review this current Lin show and bring one of the District's top visual arts voices to the attention of the WaPo's readers.

On the other hand, me bitching about Jessica's review choices (or lack thereof) could result in a permanent poisoning of the well and guarantee that Dawson will black list Lin forever.

Still on yet another hand, in 100 years no one will know who Jessica Dawson was, but Amy Lin's artworks will still be around and being enjoyed for centuries to come.

Dawson reviews

The WaPo's Jessica Dawson with two very cool reviews on Jason Horowitz at Curator's Office and Titouan Lamazou at Adamson.

Cream of the Curators' Talk

When I drove into the underground parking lot underneath American University's Katzen Arts Center last Thursday for the Curators' Talk for the WPA's much anticipated Cream exhibition and art auction, I knew that the joint was going to be packed to the gills: I was half an hour early and parking on the first level was already full.

I went up to the main floor, and immediately ran into Professor Chawky Frenn from GMU's Art School, who was taking one of his classes through the museum and to the lecture. Frenn, who is perhaps the DMV's most politically controversial painter, is also recognized by GMU as one of its best. Earlier this year he was one of the recipients of the Teaching Excellence Award at George Mason University.

Frenn is without a doubt one of the toughest political painters of his generation, and his beautiful classical paintings use the brush and style of the masters to bring forth devastating political and social commentary on paintings often too controversial (as Dartmouth found out a while back) for galleries and museums to offer in a conventional way.

The Katzen was packed to the gills. This is the 29th iteration of the WPA's annual fundraising auction. I've attended most of them since 1993 or so, and this instance was easily the most people, by far, that I've seen come to the Curators' talk.

With all due respect to the terrific curator team assembled this year by Lisa Gold, the hardworking director of the WPA, in my humble but brilliant opinion, the main reason that 67.2% of the people were there, was to see the work picked by and listen to the comments of one of the curators: ubercollector Mera Rubell. There were art dealers from as far as Philadelphia and Richmond who came to the talk and perhaps a chance to meet Rubell and slip her a business card.

The details of how Rubell became involved in the WPA auction this year and the gigantic effect that her presence has caused on the DC area art scene are somewhat chronicled here in my account of her epic "36 studios in 36 hours" marathon. They are also chronicled in her usual brooding style by Jessica Dawson for the Washington Post here.

As you constant readers know, Rubell had selected 16 artists for this exhibition, including one of my drawings. The Lenster was one of the "Sweet 16." By the way, great idea to a DC area photographer to do for DC Magazine or one of those glossies: remember the famous "Irascible 18" photograph?

Mera Rubell during her visit to my studio shows the drawing that she selected for the "Cream" exhibition (Photo by Jenny Yang)
I somewhat rushed through the exhibition, already worried that the auditorium was going to run out of seats. I noticed that a lot of unexpected but familiar DC area art scene A-listers were there, including not one but two Washington Post art critics (perhaps the first time in history that this has happened).

Can you begin to sense the impact that this woman is having upon our area's visual art scene? Look up ennui in your dictionary and feel it beginning to disintegrate.

I said hi to Mera, "how's the baby?" she asked. I told her that Little Junes is doing great. In fact, Anderson (Little Junes) has made me realize that his two sisters Vanessa and Elise were the babies from hell. The little fellow sleeps about 12 hours a night and he has been doing that most of his six months.

His older sisters are both in their twenties now and soon coming to DC to meet their little brother. They're both experienced models and thus if you know anyone who needs a model during the first week of March, let me know.


Vanessa Anne Campello de Kraus


Elise Lena Campello y Strasser
But I meander... I love that word "meander." It's the only thing that I remember from Greek architectural elements from art school and maybe the only architectural element that has an associated word meaning as well.

And so Chawky and I went into the auditorium and found a great sit in the middle, about three rows from the stage and right behind Alberto and Victoria F. Gaitan, both superbly talented DC area artists. Victoria is also one of the "Sweet 16."

The evening started with the presentation of the Alice Denney Award for Support of Contemporary Art to James F. Fitzpatrick, who is not only a wonderful asset to the DMV art scene, but also quite a funny guy. While Fitzpatrick was talking he kept accidentally fiddling with the computer keyboard on the podium, never realizing that he was giving us all a preview of the work about to be discussed, as the gigantic images rotated behind his back.

The curators (in alphabetical order) then started discussing their selected work. It started with Ken Ashton, a well-known DC area photographer and also a Museum Technician for Works on Paper at the Corcoran Gallery of Art. Predictably, Ashton selected photographers for his picks, nearly all Corcoran alumni or staff. My favorite piece amongst his picks (and the potential steal of the auction) is Marissa Long's enigmatic photograph. I want to see more works by this artist.


Marissa Long. Untitled (legs), 2006. Gelatin silver print. 8" x 10". Courtesy of the Artist. Retail Price: $300. Reserve Price: $150
I also have to admit that I was disappointed by the Matthew Girard photo that Ashton picked. I love Girard's fringe images and would have picked one of those edgy and super cool fringe people photos (Matt ferchristsakes get a website!).

My good friend Kristen Hileman, the new Curator of Contemporary Art at the Baltimore Museum of Art followed. She discussed her selection by smartly reading from her notes (and thus finishing within her allotted 10 minutes), and some cool museum wall-text jargon added a little curatorial speak to her selections, some of which "respond to idealism and order" and art that "conceal information as much as it reveals information." My favorite piece amongst her pieces, by far, was Erik Sandberg's gorgeous drawing "Consternation."

Carol K. Huh (who has a really sexy voice), the Assistant Curator of Contemporary Asian Art at the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution and Joanna Marsh, the James Dicke Curator of Contemporary Art at the Smithsonian American Art Museum, followed.

From Huh's selections, my favorite was this interesting drawing on vellum by Jon Bobby Benjamin titled "The Burning of the Empire Absalom", which in spite of its cool title has nothing to do with Darth Vader or Star Trek.

From the very fair ("fair" as Lord Byron would have used the word) Joanna Marsh's selections, I liked Joseph Smolinski's purposefully illustrative graphite on paper titled "Stump", which according to Marsh is a "wry critique on cell phone towers."


Joseph Smolinski. Stump, 2006. Graphite on paper. 9" x 12". Courtesy of the Artist and Mixed Greens Gallery. Retail Price: $950 Reserve Price: $500

Next was Jock Reynolds, an effervescent past head of the WPA and now the Director of the Yale Art Gallery and an accomplished artist on his own right. Jock said that he had "worked with all the artists that he selected" and his selections certainly offered a "walk down memory lane" of DC's artistic foundations from the 70s and 80s. My favorite amongst his selections, however, is still quite a key figure in our area's art scene and easily one of its best-known and most creative sculptors. I'm talking about Jeff Spaulding's very sexy piece titled "Delirium."


Jeff Spaulding Delirium, 2006. Wood, polystyrene, rubber, plaster, and hydrocal. 6" x 7" x 18". Courtesy of the Artist and G Fine Art. Retail Price: $7,000. Reserve Price: $3,500.
Next was Charles Ritchie, who is an artist and the Associate Curator of Department of Modern Prints and Drawings at the National Gallery of Art. His breathtaking Astrid Bowlby selection was my favorite amongst his picks. I'm sending him mental commands for a studio visit to come visit me and see my drawings.

Mera Rubell was next.

This unassuming firecracker of a woman started by saying that she was "totally astonished at what I've found in this community."

She described her 36 hour studio-visiting adventure and observed that "the studio is the holiest of places, the inner sanctum", and admitted her challenges of selecting work by herself after 45 years of doing it as a team with her husband and then her children.

As she began to discuss her 16 selections (16 artists that is), Rubell started with m.gert barkovic (whom you may recall was one of my top picks at the last Artomatic). Her work, Rubell said, "Has the ability to capture power" and "managed to capture {Einstein's} theory."

Of Holly Bass's works, she noted that it is influenced by "the moment that she discovers her blackness [in the white neighborhood where she was raised]" and her piece "deals with change."

Judy Byron "is like a therapist; a talking healer!" She added humor by noting that Byron should "be involved in the Middle East negotiations because she can get people to kiss on the lips!"

My work then popped onto the screen behind her. A gigantic image of my Age of Obama - The Nobel Peace Prize, a million feet tall by a gazillion meters wide, was on the screen. She turned to it.

"This guy is out of control!" she exclaimed into the microphone.

She then described the events that I discussed here, noting that I was the last studio on their grueling 36 hour tour, and that I was also in the same delirious state as them, because I had also been up almost 36 hours creating artwork for them to see (because I had none to show them when I was notified of their visit - all my art was in Miami for the art fairs).


Lisa Gold and Mera Rubell with me during their visit to my studio (Photo by Jenny Yang)
"We were all so delirious that we laughed the whole time that we were there," she added.

She then described the drawing as "gorgeous" and "fantastic", recalling its association with my interest in Pictish culture and describing how the "beautiful nude figure" has the historical Obama acceptance speech tattooed onto her body echoing the ancient rites of carrying history on your body.


F. Lennox Campello. Age of Obama - The Nobel Peace Prize, 2009. Charcoal on paper. 14" x 7 ½". Courtesy of the Artist and Alida Anderson Art Projects. Retail Price: $500. Reserve Price: $250
WOW.

She ended by asking the audience: "Do you know him? - I can't go to sleep without first reading his blog."

Holy shit, Mera Rubell, one of the planet's top art collectors, reads my blog... Good God Almighty, Great Balls of Fire...

Breathe deep Campello... more Rubell's picks to come and one more curator to report on; be fair.

Next Mera talked about Rafael J. Cañizares-Yunez, who is a new DMV artist, at least new to me. She said that his work was akin to Giacometti, but "more sexual" and "amazing."

Adam de Boer is a painter, a really good one, and Mera noted that "it takes lots of courage to take on painting in this time in history."

Of the tiny Mary Early she described her works as "amazing... monumental sculptures."

When Victoria F. Gaitán's striking images filled the screen behind her, Rubell went back into story-telling mode.

"We had to go through a brawl when we visited her apartment building," she said. "And yet, she is the most tender human being you've ever met!"

"An extraordinary performance," she noted. "Very, very exciting," she continued, "haunting images... it's like: Cindy Sherman, eat your heart out!"

Carol Brown Goldberg is "compelled" and "amazing" with "magical sculptures."

Pat Goslee is described as "sensitive." She then goes on to describe Goslee's work as "beautiful and extraordinary."

Jason Horowitz's studio is "wild." The work is described as "larger than life" and "amazing." That last adjective keeps coming back to describe the work that she has selected.

At Barbara Liotta's studio Rubell recalls an "intense conversation" dealing with the sense of the District's artistic relationship to New York's presence in the art world. And Liotta's does "magical things."

Patrick McDonough was "really mesmerizing" and Brandon Morse "does amazing things."

Dan Steinhilber's work was next. Rubell described him as "amazing and totally fantastic"; his work "creates a mystery and asks questions that then surprise you."


Dan Steinhilber
Untitled, 2009. Electric floor fan, bottomless trash can and bag. 120" x 30" x 30" (kinetic work, dimensions variable). Courtesy of the Artist and G Fine Art. Retail Price: $10,000. Reserve Price: $6,000

Lisa Marie Thalhammer was the last Rubell pick discussed. "Turns out," said Rubell, "that [Thalhammer's art], painted on a building, has caused crime in that area to come down."

And she was finished.

The last curator was N. Elizabeth Schlatter, the Deputy Director and Curator of Exhibitions at the University of Richmond Museums. She went back to curatorial museum jargon a little bit, discussing "human sustenance" and "environmental sustainability" and "ornamentation versus structure." Schlatter also did a good job of searching through the WPA Artfile to "discover" some new artists.

Her best pick?

Easy... the DMV's master performance artist who also happens to be a monster of a painter: Andrew Wodzianski.


Andrew Wodzianski
House III version 2, 2009. White titanium oil on tinted canvas. 30" x 48". Courtesy of the Artist and Fraser Gallery. Retail Price: $3,000. Reserve Price: $900
And it was all over. And I mulled the fact that Mera Rubell's curatorial picks had such a distinct and unique flavor from all the other curators, that in my biased opinion they clearly reflected the huge differences between the way that a world-class collector sees artwork and the way that an academic museum curator sees artwork.

They are worlds apart; the museum curator's eye often drifts too far to the side of the mind's conceptualism, ideas and the way that ideas can be expressed in art jargon. It's not wrong or bad, just a part of the way that different people in different life-experiences or positions, see and react to art.

The collector's trained eyes (in this case with 45 years of training) are adept at picking the subtle marriage of creativity, conceptual ideas, technical skill and presentation. It is anchored on a longer lasting reality than the ethereal reality of the revolving museum door.

Both perspectives are needed to stitch together a good visual art tapestry. Both sensibilities make a terrific visual exhibition, and I will agree with the general consensus that I heard buzzed about on Thursday night, that this 29th iteration of the WPA's annual auction is by far one of the best group shows in recent years and easily the strongest WPA auction ever.

But if I was an up and coming young contemporary curator, I'd also use this exhibition to learn a little from a set of eyes with 45 years of collecting experience and see what I could "pick up from her picks."

Anyone can pick a pickle, but only an Englishman can Piccadilly.

Check out the selected artwork here and go bid for some of it.

Thank you Mera, and if you're reading this post, this is how we "misfit toys" now feel about our area's art scene because of your new presence:
.

Dawson on Conner

Freelancer Jessica Dawson has a gorgeous article in the WaPo on the District's powerhouse and uber hardworking dealer Leigh Conner.

Word of advice: Art dealer Leigh Conner is many things -- well-connected, a powerhouse, the District's top gallerist -- but one thing she isn't is laid-back. Never, ever cross her. Trust me, I know.

Read Dawson's really good piece here.

Dawson on local shows

Jessica Dawson has some good mini-reviews of some top DC area shows here.

Jessica off the mark... again

In this article, the Washington Post's freelance galleries' critic Jessica Dawson writes that an artist's "highest calling" is "creating work that challenges social and political norms."

Really, did I miss that in Janson's?

OK, OK, I know that this is simply Jessica's own opinion being passed as some sort of highest calling agreement that we've all signed up to before receiving our art degrees.

Because Jessica Dawson is an art critic and not an artist, she views what "real art" should be from a postmodern theoretical viewpoint in which a lot of art critics and writers, and some artists, may see art's highest calling as indeed creating work that challenges social and political norms.

That artwork and those artists are just members of a much larger set of artists and art which has an equally important "higher calling" in their art that has zip to do with social or political norms, such as 98% of contemporary abstract painters with the other 2% just claiming that their work does challenge some social or political norm. For some of those, their higher calling may just be the beauty of what can be achieved by a talented hand and brush with the nuances of color and form and shape.

But Dawson's comment is an eye-opening inside view at the mind of this Washington Post freelancer, and somewhat sad in that her viewpoint excludes the vast majority of other highest callings that artists may have.

Philippa over at the Pink Line Project drives a good historical stake through the heart of Dawson's silly segregationist viewpoint. Read that here.

Feh!

Running for cover(age) Tonight

Running for cover(age) is a panel discussion on arts criticism in the DC area presented by the WPA.

Moderator: Kriston Capps
Panelists: Jeffry Cudlin, Isabel Manalo, Danielle O’Steen
When: Monday, January 4, 2010 from 6:30-8:00pm
Where: Capitol Skyline Hotel (lounge), 10 I Street SW, Washington, DC 20024
(Free and open to the public)

Coverage of Mera Rubell’s DC studio tour by journalist Jessica Dawson in The Washington Post touched a critical nerve in the DC arts community, and set off impassioned conversations here and on social networking websites such as Facebook here, about the quality of life for artists in the area. Artists, writers, and arts professionals weighed in on aesthetics, isolation, ambition and support for the visual arts.

This panel discussion will address questions about local arts media coverage and its effect on the cultural life of the city. During the Q&A portion of the program, panelists will provide suggestions of both existing and new models for generating dialogue about the arts.

I've noted this before, several years ago, but when I was the co-owner of the Fraser Galleries, one thing that I noted, and thus qualifies as empirical, rather than anecdotal data, was that we would get a lot more responses and new visitors to the gallery when our show was mentioned in the recommendation section on the first page of the Post's Weekend section.

You know the section that I mean (its title escapes me now)... the one where someone recommends a theater show, or a dance show, or a visual arts show?

I know this for a fact, because the usual mention would detail a bit about the gallery show, give the gallery name and the phone number. For the next few days our phone would ring off the hook with people wanting to know the gallery's address.

In fact, a mention on that Weekend section spot did a lot more to get new visitors to the gallery than any review in the Galleries column! I suspect this is because the Galleries column's demographics tend to be mostly people interested in art: artists, gallerists, art symbiots and the rare collectors. On the other hand, the people who glance and read that recommendation section in Weekend are your average reader and average public; precisely the "new" section of the population that a gallery hopes to reach.

Interesting huh?

Running for cover(age) this Monday

Running for cover(age) is a panel discussion on arts criticism in the DC area presented by the WPA.

Moderator: Kriston Capps
Panelists: Jeffry Cudlin, Isabel Manalo, Danielle O’Steen
When: Monday, January 4, 2010 from 6:30-8:00pm
Where: Capitol Skyline Hotel (lounge), 10 I Street SW, Washington, DC 20024
(Free and open to the public)

Coverage of Mera Rubell’s DC studio tour by journalist Jessica Dawson in The Washington Post touched a critical nerve in the DC arts community, and set off impassioned conversations here and on social networking websites such as Facebook here, about the quality of life for artists in the area. Artists, writers, and arts professionals weighed in on aesthetics, isolation, ambition and support for the visual arts.

This panel discussion will address questions about local arts media coverage and its effect on the cultural life of the city. During the Q&A portion of the program, panelists will provide suggestions of both existing and new models for generating dialogue about the arts.

Kriston Capps is a critic, reporter, and commenter. He contributes regular news and reviews to the Guardian, Art in America, Art Papers, Art Lies, the American Prospect, Huffington Post, and other publications. Kriston taught a graduate studio colloquium at the University of Maryland College Park and will teach an arts journalism course through the WPA ArtScribe program at George Washington University in the Spring.

Jeffry Cudlin is an artist, curator, art critic, and musician living and working in Washington, D.C. He serves as the Director of Exhibitions for the Arlington Arts Center and writes for the Washington City Paper.

Isabel Manalo is an artist represented by Addison Ripley Fine Art and Assistant Professor at American University’s Art Department in Washington, DC. She runs the award-winning blog The Studio Visit which features artists from the DC region in their studios.

Danielle O'Steen is a freelance journalist, contributing to publications such as Art + Auction, Capitol File, Flash Art and Washington Post Express. She previously worked as an editor at Art + Auction magazine in New York. Currently, she is also a graduate student in art history at George Washington University, specializing in modern and contemporary art.

Dawson on Rubell

The Washington Post's Galleries art critic, Jessica Dawson (whose writing role, as explained to me by the Post, has expanded a little, and will allow her to cover more art-related events such as this one, instead of just having Dawson do gallery reviews) followed Mera Rubell around to a few of her 36 studio visits and has the Dawsonesque take on the event here.

You could call it a Hanukkah miracle. Or the arrival of intelligent life from another planet. Last Saturday at 5 a.m., while the rest of us slept, megacollector Mera Rubell walked among us, hunting local art.

Read Dawson's report on the Rubell visit here.

As usual, Dawson adds her own bitter Debbie Downer flavor to a spectacularly positive event and tips her hand, when she introduces her log of the visits by writing: "Mera's troll through Washington's art warrens was akin to Santa visiting the Island of Misfit Toys."

What a putz... or maybe I'm the putz for just seeing just all the positive things that Mera and her interest has generated and will generate, and ignoring some of the things that Dawson highlights. And for the record, I know which Misfit Toy I would be...

As commenter "fisher1" noted in the Post's website in a comment about Dawson's article:

Jessica Dawson tactfully didn't mention one major reason artists in Washington feel neglected and isolated and that is the lack of any consistent critical voice. Any thriving art scene needs good critics as well as collectors and venues willing to take chances. We might have the latter two but certainly not the critical voice. Jessica Dawson might review one art show in ten if we're lucky; the Post's major art critic, Blake Gopnik is usually found wandering through New York's galleries ( admittedly, recently he has noted that art is going on in Washington)and people like Andrew Sullivan and occasional pieces in the City paper try to fill the gap but gap it remains and that's been the situation for many decades.

Unfortunately that wasn't "tact" on Dawson's part, after all, she's one of the critical voices in question.

You can see all the comments, or add your own, here.

2010 Whitney Biennial artists announced

From the NYT; 32 of the 55 artists live in New York and 12 in Los Angeles. I am also struck by the number of artists who live in two places at once.

David Adamo
Born 1979 in Rochester, New York; lives in Berlin, Germany

Richard Aldrich
Born 1975 in Hampton, Virginia; lives in Brooklyn, New York

Michael Asher
Born 1943 in Los Angeles, California; lives in Los Angeles, California

Tauba Auerbach
Born 1981 in San Francisco, California; lives in New York, New York

Nina Berman
Born 1960 in New York, New York; lives in New York, New York

Huma Bhabha
JoshuaBorn 1962 in Karachi, Pakistan; lives in Poughkeepsie, New York

Josh Brand
Born 1980 in Milwaukee, Wisconsin; lives in Brooklyn, New York

Bruce High Quality Foundation
Founded 2001 in Brooklyn, New York

James Casebere
Born 1953 in East Lansing, Michigan; lives in Brooklyn, New York

Edgar Cleijne and Ellen Gallagher

Dawn Clements
Born 1958 in Woburn, Massachusetts; lives in Brooklyn, New York

George Condo
Born 1957 in Concord, New Hampshire; lives in New York, New York

Sarah Crowner
Born 1974 in Philadelphia, Pennsylvania; lives in Brooklyn, New York

Verne Dawson
Born 1961 in Meridianville, Alabama; lives in Saluda, North Carolina, and New York, New York

Julia Fish
Born 1950 in Toledo, Oregon; lives in Chicago, Illinois

Roland Flexner
Born 1944 in Nice, France; lives in New York, New York

Suzan Frecon
Born 1941 in Mexico, Pennsylvania; lives in New York, New York

Maureen Gallace
Born 1960 in Stamford, Connecticut; lives in New York, New York

Theaster Gates
Born 1973 in Chicago, Illinois; lives in Chicago, Illinois

Kate Gilmore
Born 1975 in Washington, DC; lives in New York, New York

Hannah Greely
Born 1979 in Los Angeles, California; lives in Los Angeles, California

Jesse Aron Green
Born 1979 in Boston, Massachusetts; lives in Boston, Massachusetts, and Los Angeles, California

Robert Grosvenor
Born 1937 in New York, New York; lives in Long Island, New York

Sharon Hayes
Born 1970 in Baltimore, Maryland; lives in New York, New York

Thomas Houseago
Born 1972, Leeds, England; lives in Los Angeles, California

Alex Hubbard
Born 1975 in Toledo, Oregon; lives in Brooklyn, New York

Jessica Jackson Hutchins
Born 1971 in Chicago, Illinois; lives in Portland, Oregon

Jeffrey Inaba
Born 1962 in Los Angeles, California; lives in New York, New York

Martin Kersels
Born 1960 in Los Angeles, California; lives in Los Angeles, California

Jim Lutes
Born 1955 in Fort Lewis, Washington; lives in Chicago, Illinois

Babette Mangolte
Born 1941 in Montmorot (Jura), France; lives in New York, New York

Curtis Mann
Born 1979 in Dayton, Ohio; lives in Chicago, Illinois

Ari Marcopoulos
Born 1957 in Amsterdam, The Netherlands; lives in Sonoma, California

Daniel McDonald
Born 1971 in Los Angeles, California; lives in New York, New York

Josephine Meckseper
Born 1964 in Lilienthal, Germany; lives in New York, New York

Rashaad Newsome
Born 1979 in New Orleans, Louisiana; lives in New York, New York

Kelly Nipper
Born 1971 in Edina, Minnesota; lives in Los Angeles, California

Lorraine O'Grady
Born 1934 in Boston, Massachusetts; lives in New York, New York

R. H. Quaytman
Born 1961 in Boston, Massachusetts; lives in New York, New York

Charles Ray
Born 1953 in Chicago, Illinois; lives in Los Angeles, California

Emily Roysdon
Born 1977 in Easton, Maryland; lives in New York, New York, and Stockholm, Sweden

Aki Sasamoto
Born 1980 in Yokohama, Japan; lives in Brooklyn, New York

Aurel Schmidt
Born 1982 in Kamloops, British Columbia; lives in New York, New York

Scott Short
Born 1964 in Marion, Ohio; lives in Chicago, Illinois

Stephanie Sinclair
Born 1973 in Miami, Florida; lives in New York, New York, and Beirut, Lebanon

Ania Soliman
Born 1970 in Warsaw, Poland; lives in Basel, Switzerland, and New York, New York

Storm Tharp
Born 1970 in Ontario, Oregon; lives in Portland, Oregon

Tam Tran
Born 1986 in Hue, Vietnam; lives in Memphis, Tennessee

Kerry Tribe
Born 1973 in Boston, Massachusetts; lives in Los Angeles, California, and Berlin, Germany

Piotr Uklański
Born 1968 in Warsaw, Poland; lives in New York, New York, and Warsaw, Poland

Lesley Vance
Born 1977 in Milwaukee, Wisconsin; lives in Los Angeles, California

Mariane Vitale
Born 1973 in New York, New York; lives in New York, New York

Erika Vogt
Born 1973 in East Newark, New Jersey; lives in Los Angeles, California

Pae White
Born 1963 in Pasadena, California; lives in Los Angeles, California

Robert Williams
Born 1943 in Albuquerque, New Mexico, lives in Chatsworth, California

Needling Jessica Back

Today I picked up my copy of the Gazette and was pleased to see a huge review by Jordan Edwards of Andrew Wodzianski's Abra Cadaver exhibition at Fraser Gallery. That's the only way that I get any news these days about the gallery that I used to co-own for ten years from 1996-2006.

At the Fraser Gallery in Bethesda, a collection of Androids will fill the space until Nov. 14. The mixed media pieces are not new — they first appeared at the Warehouse Gallery in fall 2006 — but this is his first solo exhibition of the illustrations at Fraser. Nine have not been on display anywhere before.

The series is inspired by Tomy's Mighty Men & Monster Maker, a late '70s and '80s toy that allowed children to create rubbings of creatures using interchangeable plates and a box of crayons. Spin-offs included cartoon characters and fashion models. Wodzianski received the original as a gift at age 4 and became fascinated with the differences between the girl and boy versions. He has purchased nearly 40 sets and uses rubbings as starting points for hand-drawn figures that he colors, cuts out and mounts on scrapbook paper.

And here's the gem in the show:

Raised in rural Pennsylvania and educated at the Maryland Institute College of Art, Wodzianski teaches at the College of Southern Maryland (CSM) and has been represented by the Fraser Gallery since 2001.

The D.C. resident has had a few bruises along the way. After his first solo show at the gallery in 2003, Washington Post art critic Jessica Dawson brought down the hammer. He subsequently immortalized her in an illustration called, "Jessica, This May Sting a Little."

"He was completely devastated by the review," gallery owner Catriona Fraser recalls. "So he's done this little homage to [Dawson], but it's nothing like it could have been. He could have been a lot harsher."

Wodzianski shook it off and no longer views Dawson as a dream-crusher. The critic gave him a more favorable review last summer.

"You learn to wear bad reviews like a badge of honor," he says. "I think her writings have become increasingly sophisticated, and I'm beginning to agree with her more often than not."

"Jessica, This May Sting a Little"
Mixed Media, 10" x 8", 2009 by Andrew Wodzianski
Read the review here.

This is what Jessica wrote about Andrew six years ago. There's no art critic like time, and time has proven Dawson to be spectacularly wrong when she mimics the traditional art critic mantra and writes:

Anyone in the art world will tell you: Realism has been done. Remember those cave painters back in 15,000 B.C.? Could those guys render a bison or what?

... only a near-cosmic alignment of skill and innovation will capture the attention of an art world entranced by its own progress.

She then tears Andrew a new one:

Not surprisingly, I guess, one branch of contemporary figurative painters, the ones not quite so talented or clever, have transformed attention-seeking into an art.

... Wodzianski's scenarios are fine camp. But is the artist in on the joke?

Read Dawson's six year old review here.

By the way, I agree with Andrew in the sense that I also think that Dawson's reviews and writing have improved substantially in the ten years or so that she has been freelancing for the Washington Post, ever since that day when Ferdinand Protzman quit as the galleries' critic in a dispute over assignments.

The writing of the young Dawson to the more mature Dawson has mellowed out quite a bit and she's no longer the flame thrower that she used to be from her days in the City Paper to her move to the Post. I've been harsh on Dawson's writing many times in the past, but have also praised her writing when we align in ideas and opinions. And she has clearly become a better writer in the last few years.

And better educated. By the way, the book that Jessica is holding (AH 245) is a GWU course titled "Seminar in European Art of the Nineteenth Century." "Collectors and their Collections," restricted to graduate students and taught by Prof. Robinson.

"Abra Cadaver" runs through Nov. 14 at the Fraser Gallery in Bethesda.